All Rise...

The Charge

Opening Statement

"If you're smart, you've guessed I'm a hustler. If you haven't, here are
two clues: I'm gay and they've made a movie about me." So begins director
Q. Allan Brocka's sophomore gay theatrical feature Boy Culture. Brocka
knows and even acknowledges the gay clichés strewn throughout the film; he
uses these familiar touches to endearing effect by ironically juxtaposing them
against character depth. This tragicomedy about misplaced desire looks great and
has an outstanding cast. Boy Culture is the rare, extremely well done
GLBT film that manages to be witty, romantic, sexy, and thoughtful. It's
definitely worth checking out on DVD, and TLA Releasing has provided a fully
loaded disc for the feature.

Facts of the Case

"X" (not his real name, to protect the innocent) is a male hustler
(Derek Magyar, Enterprise) who lives a well-appointed life in Seattle due
to the generosity of his twelve regular clients. He has two roommates—not
out of financial necessity, but as a tax fraud to hide some of his income. One
is a video store clerk (Darryl Stephens, Noah's Arc), while the other is
an underaged twink (Jonathan Trent, Cane) without a job. They're achingly
young and obscenely attractive, and all three flat mates have feelings for each
other. Yet "X" keeps everyone at a distance because of his profession.
But once he takes on a new, wealthy, reclusive client (legendary thespian
Patrick Bauchau, The New Age), things begin to change. The walls come
crashing down.

The Evidence

Although it was based on the Boy Culture novel by Matthew Rettenmund,
the movie changes the written version significantly. Director Q. Allan Brocka
has been known for his comedic projects such as Eating Out and Logo's Rick & Steve the
Happiest Gay Couple in All the World, but here he branches out and
personalizes a dramatic adaptation. The action is moved from the book's Chicago
to Brocka's hometown of Seattle. Literary X's obsession with the singer Madonna
becomes a fixation on the religious icon. Most significantly, Andrew (who was
white) is now African American. The novel's myriad characters are culled down to
four essential roles, which both tightens and expands their stories. Brocka has
made the story his own, and it works to make the film feel more personal. The
script is smart and observant with some highly quotable lines.

I must have been a male prostitute in another life, because I've loved films
like My Own Private Idaho, Sugar, and Mysterious Skin that feature hookers
front and center. The male hustler is a favorite subject of gay filmmakers, and
such roles inspire the best work in young actors. Boy Culture continues
the tradition as it fixates on "X," a complicated ball of ironic
displacement. Derek Magyar makes the character likable despite his tendency to
do rude, selfish things designed to keep his isolation intact. The film hinges
on the audience rooting for him, and we do—thanks to his
cynical-yet-insightful voiceover, which provides dramatic tension as the main
character does one thing yet feels another. The story is full of quixotic
duplicity where people say words that betray their inner selves. This quality
deepens the film and adds layers where there might have been mere surface.

The supporting cast is stunning. Boy Culture features four compelling
portraits of gay men of various age and race. Patrick Bauchau gives a standout,
bravura performance as the aging client in his seventies who wants to talk until
the hustler desires him. Bauchau's unique voice and spot-on delivery convinces
the viewer that seduction is possible by telling stories. Darryl Stephens proves
he is capable of a broad range by playing a tough guy who is still questioning
his sexuality. His chemistry with the leads is undeniable, and he's the sexiest
boy in the room at any given moment. Jonathan Trent gets to play the broad,
foppish role as the fey Joey. He makes the character funny and endearing.

It's hard to believe this film was shot over eighteen days on a small
budget. Boy Culture is a handsomely shot film that takes full advantage
of its Seattle setting. Traditionally gay neighborhood Capitol Hill is featured
prominently, and the rain-prone locations fit the moody tone of the piece.
You'll catch a glimpse of a now-defunct, famous Seattle gay bar; several
gorgeous lofts; the rain soaked streets; and lush greenery that is the city's
trademark. Lighting throughout is sexy dim, and Boy Culture unspools a
marvel of technically proficient design executed on a dime. It looks incredible,
and the cinematography works well with the narrative.

TLA Releasing offers us a great DVD with substantial extras to buoy Boy
Culture. The transfer remains true to the theatrical experience with an
anamorphic widescreen transfer that is deeply color saturated and purposefully
dark. There are no digital artifacts and the simple stereo mix serves the
dialogue well enough. Included as extras are ten minute interviews with the
director and all four leads and an insightful commentary with the director and
screenwriter. All of these add up to exactly what you need to appreciate the
themes and inventive production of the film. A pair of short deleted scenes
don't add much, but they are here if you want to take a peek. Also included is
some shaky handheld footage of the film's premiere at the Tribeca Film
Festival.

The Rebuttal Witnesses

This is going to seem petty, but Boy Culture suffers because three of
the four leads are straight in real life (only Darryl Stephens is out and
proud). They accurately portray their characters regardless of their true
sexuality, but in the couple of infrequent love scenes there is hesitation from
the heterosexual members of the cast. A climactic tryst that should be
passionate and raw is stilted and oddly awkward, mainly because the two men
engaged in the act are just not that into each other. Gay viewers are going to
know, and I can't imagine any other audience as the film's target. If you're
making a gay movie with straight actors make sure they are game for the love
scenes (better yet give the roles to deserving gay actors who have few
opportunities in Hollywood to play true to themselves). Darryl Stephens
compensates for all of this, and his scenes seem effortless when things get
steamy. It's a small nitpick, since the film really doesn't revolve around
showing sex.

Closing Statement

Boy Culture achieves everything it sets out to do, and it's a great
film. It has a dark tone at the start, but manages to make light by the closing
moments. You'll see familiar gay trappings such as three buff studs living
together, stock characters used countless times, and plenty of sexy moments. Yet
the film's irony and cynicism elevate it beyond the constraints of the genre.
Boy Culture is romantic, funny, touching, and surprisingly deep. It
explores the tried-and-true question of what prevents someone from falling in
love, but does so through a unique glimpse at a jaded male hustler. His journey
from closed off from everyone to open to possibilities is what makes the film
work. The cast performs everything pitch perfect to the hilt, the production
values are high, and the script is smart. TLA Releasing has loaded up the
excellent disc to make this a DVD that comes highly recommended for fans of
GLBT-themed films.

The Verdict

Not guilty on the basis of taking a common formula and gleefully turning it
around to make an insightful movie. Boy Culture is a strong feature that
can't be held down by the court. It's free to go and entertain without dumbing
down its message.